I am not a performer.
I am an audience member.
So I am well-placed to tell stand-up comics when they are annoying the audience and destroying their own act.
Lighting is vitally important in a comedy club.
New/inexperienced stand-up comedians understandably want to see the faces and the facial reactions of their audience.
But performers can be dazzled by the light or lights aimed at their faces, so the inexperienced tend to move their eyes – and thus part or all of their heads – out of the centre of the light.
This means they can see the audience slightly better but it also means the audience inevitably see the performer’s face less sharply lit.
Communication is all about people.
People are interested in people.
If you are writing an autobiography or a biography or a novel, it is almost always not the facts which are gripping; it is the people involved, their thoughts and their emotions.
This next bit actually IS relevant.
If you wrote about the physical causes and facts of an avalanche on a mountainside, it would not be especially interesting to a general readership. If you write about what happened when two people were caught in an avalanche, it IS interesting.
People are interested in people.
This next bit is relevant too…
Years ago, I read some research on violence in movies. The researchers were able to pinpoint where on the screen a viewer’s eyes were focussed.
In an action sequence, you might assume the audience would be watching the action.
They are not. They are watching the RE-action.
If someone is punched or shot, the viewer’s eyes are not watching the punch land or the bullet hit… The viewer is watching the face of the victim.
There may be special effects blood spurting out from the bullet impact; the victim may be throwing his arms up in the air; but the audience are not looking at that. The audience are watching the face of the victim.
They are not watching the action. They are watching the RE-action.
When it gets down to basics, people are interested in people and people’s emotions.
It is exactly the same in comedy performance.
Being told a joke by a stand-up comic on-stage is, of course, about the greater or lesser effect of the material and the delivery. But, by-and-large, stand-ups do what the name suggests. They stand up, tell a joke and that is it.
What are the audience looking at?
They are not looking at the stage backcloth; they are not looking at the comic’s costume; they are not looking at the comic’s hands, though they may be aware of them peripherally. They are looking at the face of the comedian telling the joke. They are looking at the performer’s face and at the eyes.
If the performer is moving around in-and-out of the main light, the constantly-changing visual information – or lack of it in dimly-lit shadows – starts to distract from and overwhelm the spoken words. One vivid picture IS worth a thousand words.
The audience, by and large, HAS to see the performer’s face clearly. Which means a bright light shining directly at the performer’s face.
The reverse of that is… If the performer can see the audience clearly, he or she is standing in the wrong place and being badly lit.
If the audience can’t see the stand-up comic’s face clearly, he or she might as well play a tape recording on an empty stage. The audience have not paid to come and see a chair or a curtain or a bit of wall while listening to disembodied words coming out of the gloom.
They have come to see a stand-up comic delivering lines.
They have come to see a person.
The clue is in the word SEE.
My advice to new stand-up comics is…
The more YOU can see the audience, the less THEY are probably seeing of you.
If you are dazzled, you will be dazzling. If you are in the gloom, you are dim.
STAND IN THE FUCKING SPOTLIGHT!